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This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1969.
We live in a time of great uncertainty about the future. Those heady days of the late twentieth century, when the end of the Cold War seemed to be ushering in a new and more optimistic age, now seem like a distant memory. During the last couple of decades, we’ve been battered by one crisis after another and the idea that humanity is on a progressive path to a better future seems like an illusion. It is only now that we can see clearly the real scope and structure of the profound shifts that Western societies have undergone over the last 30 years. Classical industrial society has been transformed into a late-modern society that is molded by polarization and paradoxes. The pervasive singularization of the social, the orientation toward the unique and exceptional, generates systematic asymmetries and disparities, and hence progress and unease go hand in hand. Reckwitz examines this dual structure of singularization and polarization as it plays itself out in the different sectors of our societies and, in so doing, he outlines the central structural features of the present: the new class society, the characteristics of a postindustrial economy, the conflict about culture and identity, the exhaustion of the self resulting from the imperative to seek authentic fulfillment, and the political crisis of liberalism. Building on his path-breaking work The Society of Singularities, this new book will be of great interest to students and scholars in sociology, politics, and the social sciences generally, and to anyone concerned with the great social and political issues of our time.
Takes on the terms of the debate between the Arab world and the West. The author's critique of the much-discussed UNDP Arab Human Development Report represents a reasoned Arab reply to this document that has been too frequently used as a cudgel to bash the Arab world.
Is 'sustainable development' a charade sold to an increasingly misled public? This book presents a wide-ranging, penetrating critique of sustainability and what it actually means. The author argues that despite the rhetoric of socially and environmentally sustainable development and the ever-increasing number of legislative environmental policies, the real issues such as consumption, population growth and equity are either sidestepped or manipulated in international policy and law. Analyzing the main areas of concern - economic growth, market structure, trade, aid, debt, security and sovereignty - he shows that the entire development structure and the underpinnings of the debate are leading down quite a different path to that intended by sustainability.
The illusion of the progression of man is just that, an illusion. Fighting constant battles with one another from the beginning of time until now is what seems to be what we do best. The names change, but we all remain the same. Raise your heads, faithful. He is coming soon!
Sustainability standards, their systems, role and impact -- VSS at a crossroads -- Is there any future perspective for VSS and what might it look like?
Only a noble lie can save us from the psychological and social chaos now threatened by the spread of skepticism about the meaning of life and the universe.
By the author of the best-selling Straw Dogs, this book is a characteristically trenchant and unflinchingly clear-sighted collection of reflections on our contemporary lot. Whether writing about the future of our species on this planet, the folly of our faith in technological progress, or the self-deceptions of the liberal establishment, John Gray dares to be heretical like few other thinkers today.
Investigating the central role that theories of the visual arts and creativity played in the development of fascism in France, Mark Antliff examines the aesthetic dimension of fascist myth-making within the history of the avant-garde. Between 1909 and 1939, a surprising array of modernists were implicated in this project, including such well-known figures as the symbolist painter Maurice Denis, the architects Le Corbusier and Auguste Perret, the sculptors Charles Despiau and Aristide Maillol, the “New Vision” photographer Germaine Krull, and the fauve Maurice Vlaminck. Antliff considers three French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour à l’Ordre (“Return to Order”), and, in one instance, even defined the “dynamism” of fascist ideology in terms of Soviet filmmaker Sergei Eisenstein’s theory of montage. For these fascists, modern art was the mythic harbinger of a regenerative revolution that would overthrow existing governmental institutions, inaugurate an anticapitalist new order, and awaken the creative and artistic potential of the fascist “new man.” In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew primarily on the writings of the French political theorist Georges Sorel, whose concept of revolutionary myth proved central to fascist theories of cultural and national regeneration in France. Antliff analyzes the impact of Sorel’s theory of myth on Valois, Lamour, and Maulnier. Valois created the first fascist movement in France; Lamour, a follower of Valois, established the short-lived Parti Fasciste Révolutionnaire in 1928 before founding two fascist-oriented journals; Maulnier forged a theory of fascism under the auspices of the journals Combat and Insurgé.